File consists of images of two carvings made from argillite. The images were purposefully taken so that the scale of the object can not be determined. Photographs were taken in the Museum of Anthropology.
Subseries consists of correspondence, meeting minutes, photographs and documentation regarding the totem pole that was carved for UBC by Ellen Neel in 1948, its subsequent deterioration and mishandling, and the committee formed to resurrect a new pole carved by Calvin Hunt. Bill McLennan sat on the committee that was struck to handle the installation of the new pole.
File contains copies of correspondence both sent and received between Bill McLennan and YVR Airport regarding several different pieces of Northwest Coast Artworks to be displayed at the airport. Other records include correspondence between various Musqueam Band members and YVR airport, with McLennan being a copied recipient of these letters and/or memos.
File contains images of various different pieces of Northwest Coast artwork located at YVR. These artwork pieces include: the cedar crabs from the <i>Pacific Passage</i> installation; <i>Hetux, Thunderbird, the Keeper of the Sky</i> installation; the whaling canoe from the <i>Rainbow off the Beach</i> installation; the <i>Origins of Light</i> installation; the <i>The Supernatural Worlds: The Land, The Sea, The Sky</i> installation; and the <i> Musqueam Welcoming Area</i> installation, which includes several Salish weavings.
File contains a copy of the <i>Squamish Lil'wat Cultural Centre: Waugh + Busby Architects: Project Brief - Book 1, January 14, 2004</i> report (in box 70.3) and Book 2 of the same report (box 13.4).
The file contains two copies of a letter McLennan wrote to the CBC's Fifth Estate programe regarding the Northwest Coast Houses project at the CMC, as well as photocopies of news clippings pertaining to the same project. The photograph depicts a man, artist Terry Starr, painting on a wooden screen.
Item is a photograph showing three unidentified men stripping bark off of a cedar tree at Musqueam. There are two other cedar logs on either side of the men, and there is a river in the background.
Item is a photograph of two long houses which appear to be under construction. There is a man standing in front of one of the houses on the far right of the photograph.
File contains information about the 2010 Olympic Aboriginal Art Program, including an overview and objective aims of the project, and a more indepth report titled "Vancouver 2010 Aboriginal Participation News".
File contains copies of letters McLennan wrote to people and the American Museum of Natural History in order to identify the artist who created the bracelet as identified in the previous file. Other records include a catalogue list and information about the formation of copper and silver bracelets.
Subseries contains a significant number of digital images on CD-ROMs of scans of silver bracelets from MOA, as well as various other institutions including the Royal Ontario Museum and the Canadian Museum of Civilization, in order to facilitate study of these bracelets as a flat image. Bracelets were scanned and then added to a database. These scans contributed to the Signed Without Signature exhibit at MOA on works by Charles and Isabella Edenshaw. CD-ROM 7 also includes photographs of Arthur Erickson’s birthday party at MOA.
File contains 9 CD-ROMS (one of which is blank) containing digital images of bracelets held at various museums in Canada and the United States. Some of the CDs also contains digital copies of textual records listing information about the bracelets. The photographs contain images of bracelets from an unspecified museum exhibit(s). The textual records are photocopies of CD covers listing the contents on the CDs.
Subseries consists of photographs documenting the carving of a totem pole by Jim Hart for MOA. The slides document the entire process of carving from start to finish. The totem pole is listed as the House Frontal Totem Pole on the MOA catalogue, carved by artist Jim Hart, purchased by MOA, and raised on October 12, 1982. McLennan noted that the pole was carved based on fragments of an old pole which came to MOA in 1948. These fragments remain in a carving shed.
